explain the symbolism used in the plot of (crash landing on you)

•paragliding
•tornado
•Demilitarized Zone
•Lost mines
•Boarder lines​

Answer:

tornado landing on you

Explanation:

coz it a noun verb and a crash landing on you

Tornado landing on you is the symbolism used in the plot. Thus, the correct option is B.

As a reaction to naturalism and realism, symbolism was a late 19th-century art style with French and Belgian roots that sought to symbolically depict ultimate truths through language and metaphorical images.

Les Fleurs du Mal by Charles Baudelaire, which was first published in 1857, is where the literary movement got its start. Edgar Allan Poe's works, which Baudelaire passionately adored and translated into French, had a big impact on him and served as the inspiration for numerous common tropes and motifs.

In the 1860s and 1870s, Stéphane Mallarme and Paul Verlaine created the aesthetic. The aesthetic drew a generation of writers in the 1880s and was described in a number of manifestos.

The critic Jean Moreas coined the term "symbolist" in order to distinguish the Symbolists from the closely related Decadents of literature and art.  A response in support of spirituality, the imagination, and dreams was symbolism.

The anti-idealistic movements of naturalism and realism, which sought to depict reality in all of its gritty particularity and exalt the commonplace over the ideal, were predominantly the targets of symbolism.

Learn more about symbolism, here

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Waldo McWillerbee: Magician

Waldo McWillerbee wanted to be a magician. With a funny name like Waldo McWillerbee, what else could he be besides a magician? A banker? Certainly not a banker! With a name like Waldo McWillerbee, he was meant to entertain the world, and he was determined to do just that with his wondrous, wonderful magic.
For his first trick, he would make his mother's prized antique vase float in the air. The vase was simply beautiful! It was over a hundred years old, and it had tiny blue and gold flowers painted all over it. He covered the vase in his magical handkerchief. He took the vase in his hands—one hand holding the top, and the other hand supporting the bottom. He chanted, "Scmoozy, Foozy, Kitten Hairy! Make this vase float in the air-y!" He released the vase. BAM! Tiny glass pieces with blue and gold flowers showered the floor.
Then Waldo McWillerbee knew he must perform a magician's most important trick of all: make himself disappear! Off Waldo McWillerbee ran to hide under the bed!
9
Which of these best summarizes the second paragraph?
A.
Waldo McWillerbee broke his mother's vase because he was trying to be a magician. He went to hide under his bed.
B.
Waldo McWillerbee chanted, "Scmoozy, Foozy, Kitten Hairy! Make this vase float in the air-y!" He wanted the vase to float.
C.
Waldo McWillerbee tried to use magic to make his mother's antique vase float in the air. The vase shattered on the floor.
D.
Waldo McWillerbee's mother had an antique vase with tiny blue and gold flowers painted on it. He covered it with a handkerchief.

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The Importance of Elsewhere
Paul Theroux

Read the passage, then answer the question.

As a child, yearning to leave home and go far away, the image of my mind was flight—my little self hurrying off alone. The word “travel” did not occur to me, nor did the word “transformation,” which was my unspoken but enduring wish. I wanted to find a new self in a distant place, and new things to care about. The importance of elsewhere was something I took on faith. Elsewhere was the place I wanted to be. Too young to go, I read about elsewhere, fantasizing about my freedom. Books were my road. And then, when I was old enough to go, the roads I traveled became the obsessive subject in my own books. Eventually I saw that the most passionate travelers have always also been passionate readers and writers. And that is how this book came about.

2 The wish to travel seems to me characteristically human: the desire to move, to satisfy your curiosity or ease your fears, to change the circumstances of your life, to be a stranger, to make a friend, to experience an exotic landscape, to risk the unknown, to bear witness to the consequences, tragic or comic, of people possessed by the narcissism of minor differences. Chekhov said, “If you’re afraid of loneliness, don’t marry.” I would say, if you’re afraid of loneliness, don’t travel. The literature of travel shows the effects of solitude, sometimes mournful, more often enriching, now and then unexpectedly spiritual.

3 All my traveling life I have been asked the maddening and oversimplifying question “what is your favorite travel book?” How to answer it? I have been on the road for almost fifty years and writing about my travels for more than forty years. One of the first books my father read to me at bedtime when I was small was Donn Fendler: Lost on a Mountain in Maine. This 1930s as-told-to account described how a twelve-year-old boy survived eight days on Mount Katahdin. Donn suffered, but he made it out of the Maine woods. The book taught me lessons in wilderness survival, including the basic one: “Always follow a river or a creek in the direction the water is flowing.” I have read many travel books since, and I have made journeys on every continent except Antarctica, which I have recounted in eight books and hundreds of essays. I have felt renewed inspiration in the thought of little Donn making it safely down the high mountain.

4 The travel narrative is the oldest in the world, the story the wanderer tells to the folk gathered around the fire after his or her return from a journey. “This is what I saw”—news from the wider world; the odd, the strange, the shocking, tales of beasts or of other people. “They’re just like us!” or “They’re not like us at all!” The traveler’s tale is always in the nature of a report. And it is the origin of narrative fiction too, the traveler enlivening a dozing group with invented details, embroidering on experience. It’s how the first novel in English got written. Daniel Defoe based Robinson Crusoe on the actual experience of the castaway Alexander Selkirk, though he enlarged the story, turning Selkirk’s four and a half years on a remote Pacific Island into twenty-eight years on a Caribbean island, adding Friday, the cannibals, and tropical exotica.

5 The storyteller’s intention is always to hold the listener with a glittering eye and riveting tale. I think of the travel writer as idealized in the lines of the ghost of Hamlet’s father at the beginning of the play:

6 I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end.

7 But most are anecdotal, amusing, instructional, farcical, boastful, mock-heroic, occasionally hair-raising, warnings to the curious, or else they ring bells like mad and seem familiar. At their best, they are examples of what is most human in travel.

The following question has two parts. Answer Part A and then answer Part B.

Part A

How does the author develop the idea that travel narratives are worthwhile?

Question 1 options:

A) He describes a book that influenced him.

B) He explains that he admires Shakespeare.

C) He defines the role of a story teller.

D) He provides personal and text examples.

Part B


Which detail from the passage best supports the response to Part A?

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B) “The traveler’s tale is always in the nature of a report.”

C) “The book taught me lessons in wilderness survival . . . .”

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